×
You will be redirected back to your article in seconds

Film Review: ‘The Identical’

This indie drama based on Elvis Presley mythos fails to take full advantage of its fanciful premise.

With:
Blake Rayne, Erin Cottrell, Amanda Crew, Brian Geraghty, Seth Green, Ashley Judd, Joe Pantoliano, Ray Liotta.

What if Elvis Presley’s identical twin brother hadn’t been delivered stillborn? What if he had been surreptitiously adopted and raised to adulthood by other parents, without the King ever knowing, and wound up achieving fame and fortune as  get ready for it  a really terrific Elvis Presley imitator? Such speculation provides the narrative foundation for “The Identical,” an indie-produced film a clef that unfortunately falls short of fully realizing its provocative high concept. Plot elements involving religious influences might help Freestyle market the pic as faith-based entertainment during its scheduled Sept. 12 theatrical rollout, but don’t be surprised if diehard Elvis fans prove to be its harshest critics.

Not surprisingly, names have been changed  and pop-culture history has been reimagined  by scripter Howard Klausner (who also wrote the speculative Hank Williams drama “The Last Ride”) and first-time feature helmer Dustin Marcellino. In this variation of the story behind the story, an impoverished Deep Southerner (Brian Geraghty) is driven to extremes when his wife (Amanda Crew) gives birth to twin boys during the Great Depression. Figuring he’d be hard-pressed to provide for a single child, much less two, the desperate dad secretly arranges for one of the babies to be adopted by a revivalist minister (Ray Liotta) and his supportive wife (Ashley Judd), who fear they’ll never be blessed with children of their own.

While Drexel “the Dream” Hemsley (Blake Rayne) grows up  almost entirely offscreen  to become a hip-shaking, money-making rock ‘n’ roll superstar, his twin sibling, known as Ryan Wade (also Rayne), reaches maturity as a straight-arrow preacher’s son whose father fully expects him to follow in his path as a minister of the Lord.

But Ryan takes a detour through rural roadhouses, where he soaks up musical influences from black bluesmen and honkytonkers. And while he takes a job as assistant to a gregarious mechanic (Joe Pantoliano) to make ends meet for himself and Jenny (Erin Cottrell), his encouraging wife and the movie’s narrator, Ryan can’t help wanting to be a performer  just like his favorite rock ‘n’ roller, Drexel Hemsley.

About midway through “The Identical,” there is a sequence that hints at the better, more audacious movie it might have been. Ryan performs as a finalist in a 1960s radio station-sponsored contest for Hemsley imitators  and outclasses all other competitors to win top honors on his own merits. But what really seals the deal for him is a sudden, unannounced appearance by Hemsley himself, who takes one look at the guy up onstage who looks and sounds a lot like him, and indicates his approval to the contest judges shortly before his abrupt departure. Right on the spot, a hustling agent offers Ryan a contact to perform as a Hemsley imitator  billed as “the Identical”  at state fairs and concert venues everywhere.

All things considered, “The Identical” might have worked better as a TV miniseries, a format that would allowed the filmmakers to give equal time to Hemsley’s story. A fleeting flashback scene indicates the Elvis-style superstar harbors a lifelong guilt for surviving the brother he never knew. But the character appears only in a handful of scenes, most of them snippets of concert or movie appearances, and the audience is left to wonder how, if at all, he was impacted by seeing a veritable ghost of himself onstage.

One can admire the filmmakers’ decision to mitigate the cheese quotient by largely downplaying the cliche of “psychic connections” between long-separated twins. But anyone who gets drawn into this story at all will be repeatedly frustrated by learning little more about Hemsley other than the fact that, just like Elvis, he put on a little weight in his later years.

Rayne  aka Ryan Pelton, a real-life Elvis tribute artist  is slightly stiff but engagingly sincere as Ryan, and he swaggers persuasively during his sporadic appearances as Hemsley. He gets fine support from Pantoliano, Cottrell, Geraghty (who is deeply affecting during a third-act reconciliation scene) and, as Ryan’s best buddy and backup drummer, Seth Green.

But Liotta is the one who takes top acting honors here, playing Rev. Reece Wade with a meticulously calibrated mix of enlightened compassion, righteous anger and paternal love. When the minister ultimately accepts his adopted son’s true calling, Liotta’s subtly powerful portrayal of that acceptance helps give the film’s upbeat ending a solid ring of truth. It helps Liotta that his character has been written not as censorious stereotype, but rather as an intelligent individual  surprisingly progressive in his outlook when it comes to religious and racial matters  who only wants the best for his son. It would have helped Judd if her character, unlike Liotta’s, hadn’t inexplicably stopped aging early in this decades-spanning drama.

Period flavor is undercut in too many scenes with prominent placement of all-too-obviously well-maintained vintage cars, and occasional verbal and visual anachronisms. (Posters and calendars intended for Hemsley fans are conspicuously unconvincing as products of the ’50s and ’60s.) On the other hand, original songs by vet record producer Jerry Marcellino (the director’s grandfather) and Yochanan Marcellino (the director’s father) cleverly evoke the sound and formula of Elvis’s early and mid-career chart-toppers.

Film Review: 'The Identical'

Reviewed at Nashville Film Festival (competing), April 17, 2014. Running time: 106 MIN.

Production: A Freestyle Releasing release of a City of Peace Films production in association with The Identical Production Co. Produced by Howard Klausner, Joe McDougall, Clio Tegel, Mark G. Mathis, Yochanan Marcellino, Matthew Dean Russell, Coke Sams, Clarke Gallivan. Executive producers, Michael Edious Johnson, Yochanan Marcellino, Ray Liotta. Co-producers, Don Noes, Jerry Marcellino, Jordan Marcellino.

Crew: Directed by Dustin Marcellino. Screenplay, Howard Klausner, based on a story by Wade Cummins. Camera (color/B&W), Karl Walter Lindenlaub; editor, Rick Shaine; music, Jerry Marcellino, Yochanan Marcellino, Christopher Carmichael, Karl Badelt; production designer, Keith Brian Burns; art director, Liba Daniels; costume designer, Karyn Wagner; sound (Dolby Digital), Bayard Carey; assistant director, Alisa Fredericks; casting, Lindsay Graham, Mary Vernieu.

With: Blake Rayne, Erin Cottrell, Amanda Crew, Brian Geraghty, Seth Green, Ashley Judd, Joe Pantoliano, Ray Liotta.

More Film

  • Japan's Toei Animation Teams With Saudi's

    Japan's Toei Animation Teams With Saudi's Manga Productions on 'The Journey'

    In an industry-building effort for Saudi Arabia, new Saudi animation studio Manga Productions has teamed up with Japan’s Toei Animation on a $10 million to $15 million animation feature titled “The Journey,” an epic based on Saudi folklore to be directed by Shizuno Kobun, whose credits include “Godzilla: City on the Edge of Battle.”  Manga [...]

  • 'Joan of Arc' Review: Bruno Dumont's

    Cannes Film Review: 'Joan of Arc'

    You have to hand it to Bruno Dumont, France’s dark prince of dour auteurism: He never makes the same film twice, even when he does, to all intents and purposes, make the same film twice. Two years ago, he offered his own singular contribution to cinema’s well-stocked canon of Joan of Arc dramas: As a [...]

  • Rosie Day, Harriet Sanson Harris, Natalia

    Rosie Day, Harriet Sanson Harris, Natalia Tena Set For Juanma Bajo Ulloa’s Thriller ‘Baby’ (EXCLUSIVE)

    CANNES– Rosie Day (“Outlander”), Harriet Sanson Harris (“Phantom Thread”) and Natalia Tena (“Game of Thrones”) will star in Spaniard Juanma Bajo Ulloa’s psychological thriller “Baby,” Variety has learned exclusively. The project will be pitched on May 19 at Fantastic 7, a new Cannes initiative seeing seven of the world’s most prestigious fantastic festivals back and [...]

  • Polish Fest’s Industry Event Presents Upcoming

    New Horizons’ Polish Days Goes to Cannes With Five Films in Progress

    CANNES  —  Buoyed by a wave of international successes, including Pawel Pawlikowski’s 2019 foreign-language Oscar nominee “Cold War,” Polish cinema will get a fitting showcase Sunday morning with the presentation of five new projects at New Horizons’ Polish Days Goes to Cannes. Organized in conjunction with the Polish Film Institute, Polish Days is the most important [...]

  • Cannes, Annecy Animation Day Hosts ‘Bob

    Coala to Pitch ‘Bob Spit: We Do Not Like People’ at Cannes, Annecy Animation Day

    São Paulo-based Coala Filmes impressed in the series competition at last year’s Annecy Intl. Film Festival with an episode of their popular stop-motion series “Angeli the Killer,” based on the famous comics of the Brazilian comic-book writer of the same name. This year, the film’s director Cesar Cabral and producer Ivan Melo are participating in [...]

  • Russian Oligarch Roman Abramovich’s $100 Million

    Russian Oligarch Roman Abramovich’s $100 Million Film Fund Launches

    CANNES  —  Russian oligarch Roman Abramovich’s $100 million private film fund Kinoprime is ready for business, the fund’s CEO, Anton Malyshev, said in Cannes this week. Financed to the tune of $100 million over the next three years, the fund can provide up to 50% of a film’s production budget, with a $2 million cap [...]

  • Russian Helmer of Blockbuster ‘Stalingrad’ Looks

    Russia’s Fedor Bondarchuk Unveils Four New Films in Cannes

    CANNES  —  Russian director Fedor Bondarchuk introduced four new productions from his Art Pictures Studio Saturday in Cannes, including “Attraction 2,” the sequel to his 2017 sci-fi blockbuster. The invitation-only showcase at the Gray d’Albion hotel also unveiled footage from three new features that Bondarchuk is either directing or producing. Sci-fi thriller “Sputnik” is the story [...]

More From Our Brands

Access exclusive content